Tim Wallace-Murphy at Alpha

     

Dr. Tim Wallace-Murphy is welcomed to Alpha Lodge by Worshipful Master David Lindez. The world renowned scholar visited Saturday night to discuss “Rosslyn Chapel: Reliquary of the Holy Grail.”

The August Order of Alpha Males inducted a new member Saturday night when Dr. Tim Wallace-Murphy of Lodge Robert Burns Initiated No. 1781 in Edinburgh became the latest world renowned scholar to lecture at historic Alpha Lodge No. 116 in East Orange, New Jersey.

(I recently dubbed Alpha the Provincial Grand Lodge of Essex County because it simply surpasses everything else going on in New Jersey Freemasonry in terms of Masonic culture, while not at all forgetting about the basics, the brotherhood, and its relationship to the neighborhood.)

They came from miles away to be at Alpha that night. Masons from New Jersey’s Fifth, 10th, 12th Districts and more; and from Pennsylvania too. We gathered to listen to this prolific author, lecturer and familiar face from documentary films discuss “Rosslyn Chapel: Reliquary of the Holy Grail.”

“I started my spiritual journey 35-36 years ago,” said Wallace-Murphy, prefacing his lecture with some personal background. Fascinated by the books of Trevor Ravenscroft and Joseph Campbell, he was intrigued by the great power that symbols and myths have to conceal hidden wisdom while inspiring seekers to break the codes.

In particular it was the Holy Grail that first drew him in.

“My first literary collaborator, the late Trevor Ravenscroft, composed his masterwork, “The Cup of Destiny,” to reveal to the younger generation that the Grail romances reveal, within their drama and symbolism, signposts to a unique path of initiation: the true teaching of Jesus,” he explained. “He was not alone in this conclusion, for one of the world’s leading mythologists, the late Professor Joseph Campbell, writing of the importance of the Grail, cites a passage from the Gospel of Thomas: “He who drinks from my mouth will become as I am, and I shall be he.”

“Campbell came to the conclusion that this represented the ultimate form of enlightenment that can arise from a successful Grail quest. Thus the Grail quest is not what it seems, for there is a hidden agenda designed to conceal a heretical truth from the prying eyes of the clergy,” he continued. “The original Grail sagas of Chrétien (de Troyes) and Wolfram (von Eschenbach) are coded guides to initiation.”

Which leads us to Rosslyn Chapel, the enigmatic structure Wallace-Murphy credits with being the reliquary of this inspired initiatic heritage.

“The care and precision that went into the construction of the chapel fall into a category of what we would now call ‘quality assurance,’ ” said Wallace-Murphy. “Every carving and every decoration was first made of wood, and then shown to William (St. Clair).” They then were carved in stone and placed where he directed. Earl William St. Clair was the builder of Rosslyn Chapel and the last Sinclair Earl of Orkney.

Our speaker, using PowerPoint, lead a tour of the amazing site.


The Exterior

There are many flying buttresses of the Gothic order of architecture, but they are not weight-bearing. On the East Wall is found a bust of Mercury, “the first of many anomalies we’ll come across.” The West Wall he said was originally meant to be an inside wall, but the building was never completed; work on the site ceased upon the death of William St. Clair in 1482. In a window on the South Wall is carved a Knight Templar leading a blindfolded man by a rope about his neck.

The roof, made of solid stone, is divided into five sections, one of which displays what Wallace-Murphy said is a “profusion of five-pointed stars,” another sign denoting the Chapel’s relevance to the Knights Templar.


The Interior

“The inside is superbly carved,” he said. “Profuse, with very intricate carving at eye-level and above. A symphony of carved spirituality!” There are Zoroastrian and ancient Egyptian symbols. “Every form of spirituality known in the 15th century, but this is supposedly a Christian church.”

The Apprentice Pillar – The master mason, having received from his patron the model of a pillar of exquisite workmanship and design, hesitated to carry it out until he had been to Rome, or some such foreign part, and seen the original. He went abroad, and in his absence an apprentice, having dreamed the finished pillar, at once set to work and carried out the design as it now stands, a perfect marvel of workmanship. The master mason on his return was so stung with envy that he asked who had dared to do it in his absence. On being told it was his own apprentice, he was so inflamed with rage and passion that he struck him with his mallet, killed him on the spot, and paid the penalty for his rash and cruel act.

(Source: “An Illustrated Guide to Rosslyn Chapel” by Tim Wallace-Murphy. Photo from “Cracking the Symbol Code” by Tim Wallace-Murphy.)

The Apprentice himself, Wallace-Murphy explained, is seen in the southwest corner of the clerestory wall, his gaze directed downward at the Master Masons Pillar. Relating a fascinating anecdote, he told of how a colleague laboring in the restoration of the Chapel had discovered that this Apprentice once had a beard. “Apprentices in the 15th century were not allowed to have beards,” he added. An esoteric clue lies therein.

Other aspects of the Apprentice Pillar include its allusions to the Tree of Life; the musicians playing medieval instruments; and what is called the Stafford Knot, a pretzel-shaped configuration that Wallace-Murphy said is a reference to the Temple in Jerusalem.

Bro. Wallace-Murphy discussed many symbols found built into the architecture of Rosslyn Chapel, varying from Green Man depictions to symbols of the Deadly Sins and Cardinal Virtues to carvings of maize, lilies and rosettes. The Magpie Mason strongly recommends his books for detailed description and analysis of these and more. But one aspect he did discuss in detail that I ought to share concerns the Templar symbolism, which is the crux of his theory of initiatic intent in the design of the Chapel.

There are “five diagnostic elements” embedded in Rosslyn Chapel, he explained.

The Agnus Dei, or Paschal Lamb – the seal of the medieval order of Knights Templar that in this instance has carved into it a pair of hands drawing back a veil, all but exclaiming a sense of esoterica revealed. In addition, an angel in the south aisle is carved holding a Sinclair shield, with another pair of hands pulling back a curtain.

The Engrailed Cross of the Sinclairs – depicted throughout the main chapel is what Wallace-Murphy called the Croix Pattée: a Knight Templar cross converted into the Gnostic Gross of Universal Knowledge.

The burial stone of Sir William de Sinncler, Grand Prior of the Templar order who, according to legend, had commanded the Templars in their intervention on Scotland’s behalf at Bannockburn.

“Commit thy work to God” – is the St. Clair family motto, which the author likened to that of the Templars: “Not to our name Lord. Not to our name, but to Yours be all the glory.”

The heraldic colors of the St. Clair family – are argent and sable, the same color scheme of the Beausant, the battle flag of the Templar order.


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As regards the medieval Knights Templar and their alleged role in the history of Scotland and as forefathers of Freemasonry, the Magpie Mason stands comfortably in the Cooper camp. It makes for a far less romantic story, but the trail of facts into Masonic origins does lead to the builders of the great cathedrals. The rival theory of Freemasonry descending from the Templars is very exciting, has sold many books, and is entirely speculative. But on interpretations of the countless symbols carved and placed throughout Rosslyn Chapel, I’m open to informed opinion and very much enjoy reading the research of those who actually study this enigmatic site, using their training in religion and mythology to translate what they see. In Freemasonry, there are tangible facts, but there also are the intangibles that spark curiosity and ought to mark common ground on which academics and ordinary thinkers like myself can build together. Bro. Tim Wallace-Murphy’s books are accessible to all, and intentionally so. He knows his material thoroughly and presents his theses in language and style that can bring together the most orthodox of Quatuor Coronati disciples and the undecided seeker beginning his journey.

That embodies the ultimate goal of the Masonic lodge.
     

Rose Circle, Part III

From left: Master of Ceremonies Rob Morton, R.A. Gilbert, Piers Vaughan and David Lindez.


The trilogy of presentations given Saturday would be possible only at an event hosted by the Rose Circle Research Foundation. Three Rosicrucian scholars, all with international reputations, gathered at one podium to impart three unique perspectives of their common subject.

I'll say at the outset that I am restraining myself from quoting too extensively from these three presentations because the papers will be available to Rose Circle members via the Foundation's website. If you are reading this blog with any specific curiosity, you would benefit from Rose Circle membership.

Piers A. Vaughan spoke brilliantly on Alchemy in relation to the three degrees of Craft Masonry. There probably is not a way to collate all the information pertaining to Piers' work in Freemasonry and other initiatic societies. Here is how one Scottish Rite publication put it:

Bro. Piers Vaughan was initiated in Southwick Lodge No.7058 in England in 1979, and when he moved to the USA he affiliated with St. John’s Lodge No 1 in New York City, where he was Master in 1998. AGL of the First Manhattan District , High Priest of the Ancient Chapter No.1 RAM, Illustrious Master of Columbian Council No.1 Cryptic Masons, and Commander of Morton Commandery No. 4 KT, are just some of the Masonic functions that this Worthy Brother was or still is active in. As a Past Most Wise Master and a Ritual Director of the Chapter of Rose Croix, he greatly improved the standard of proficiency in this Body’s Ritual work and through his extensive knowledge of the Craft, and especially of the Rose Croix Degrees, has increased the understanding of the Rituals, Symbols and Tenets in the Chapters and in the Valley.

With wonderful illustrations projected by PowerPoint, Piers led a tour of sacred sites around the world, from Chartres to the Temple of Ten Thousand Buddhas, with pointed sightseeing of Green Man examples and other depictions of esoteric thought rendered in stone for the understanding of illiterate generations of long ago.

Part of his point is to demonstrate how alchemical images were built into medieval churches, on their walls, their arched entrances, stained glass windows and elsewhere. More than Western sacred spaces, Piers' visit to the Temple of Ten Thousand Buddhas in Hong Kong produced a photo of a statue of the newborn Buddha with one hand raised, pointing up, and the other hand lowered, pointing down, as if to say "As above, so below." (The word "gobsmacked" comes to mind, and that's not even a word I'd ever use.) He describes the symbolism chiseled into the multiple arches of the entrance of Notre Dame as "an initiation in itself."

Using additional graphics, Piers reveals direct relationships between alchemical elements and Masonic ritual.

Defining the "puffers" of material alchemy (that is, those who endeavor to transmute metals, like lead into gold) as akin to operative masons transforming raw stone into beautiful structures or adornments, Piers explained that the Master Mason Degree's message of spiritual renewal contains too much alchemical information to be ignored, and he furthermore linked both, thematically, to esoteric Christianity in that all three schools of thought lead to the unification of heaven and earth.

Look to the Gospel of St. Thomas, he reminded us: "Split a piece of wood; I am there. Lift up the stone, and you will find me there." (77:2-3)

Other Alchemical-Masonic parallels were identified. To touch on a few:

The Chamber of Reflection awaiting aspirants in traditional Scottish Rite Masonry and other Masonic rites is likened to Alchemy's Calcination phase, the first of seven (boy, does that number come up frequently!) major stages of alchemical transformation. This involves the use of heat – "a gentle heat, not a roaring fire" – to reduce substance to ashes. In psychology, we'd call this a humbling process that deconstructs the ego, liberates the mind from concerns for material wealth, and grants time for introspection.

The Trivium (Grammar, Logic and Rhetoric) and Quadrivium (Geometry, Astronomy, Arithmetic and Music) of the Middle Chamber Lecture parallels Alchemy's act of Conjunction, which is a period of examining higher concepts in steps toward achieving a community with deity.


Of the Middle Chamber Lecture's borrowing of Judges' tale of Jephthah, Piers describes it as the "most transparent" of Alchemical symbols in the Masonic body of degrees, a "fascinating allegory" that uses the Jordan as "a barrier between two states of consciousness."

(Among the papers accessible to Rose Circle members on their website is "The Illustrious Order of the Red Cross" by Piers, which explores this concept in convincing detail.)

But more is required than intellectual understanding, said Piers in conclusion. "All rituals are in vain if they bring only an increase in knowledge. Masonry is nothing more than a hobby when it is not practiced in our daily lives."

I'm going to be especially protective of David Lindez's presentation, a historical look at Rosicrucianism and Freemasonry in the United States, not only because this candidly expressed paper will appear on Rose Circle's website, but also because this never before revealed information will be extrapolated in a book, soon to be published. Furthermore, not being a Masonic Rosicrucian myself, circumspection and common sense demand that I not err by confusing the names and dates of historical import that David shared. Suffice to say that as Grand Archivist of the Masonic Rosicrucians of the United States, Fratre David possesses priceless historical gems (personal journals, correspondence, rare books, etc.) that are among his sources of information.



From left: William H., David, Rob M., and Jonathan C.

If I'm comfortable at all sharing one thrust of his paper, it would be the crucial and indisputable fact that Masonic Rosicrucianism is intended to be more than the literary and research society it is officially known as. Instead, the fratres, of all grades, should be employed in the Great Work of spiritual transformation, as guided by their rituals, ceremonies that illumine the secrets of nature and the will of God.

But I digress.

I believe Piers and David would agree that the star of the conference was R.A. "Bob" Gilbert, another luminary in the field of esoteric education and instruction whose resume runs too long to be published here. Bob's presentation, "Beyond the Image: The Spiritual Reality Behind the Symbol of the Rose and Cross," instructs in a non-dogmatic investigation of what these two timeless symbols can tell us. He began with general information – a definition of "symbol," and a quick sketch of the early history of the Rosicrucian movement, among other points – and gradually worked his way toward the brilliant thesis of his talk, punctuating his message with terrific illustrations.

In fact, it is his visual presentation that will make it difficult to relate the details of his talk. You know a picture is worth a thousand words, so:



Better symbols have "restraint and gravitas" and do not depersonalize Christ. And they "have to work in practice and be practical, or they will not work."



This previously unpublished image comes from a Shaker community in Pennsylvania circa 1890. To me it seems to recall the Tree of Life, but Gilbert was careful to point out that representations created in isolated Christian communities of early America were characterized by the symetry with which they depicted crosses, circles and roses. You'll have to forgive me for not getting a quality photograph of a second image that comes from a Quaker community in Massachusetts, but that image is strikingly similar to this Shaker illustration.

"We shouldn't be surprised by the commonalities," Gilbert explained to a visibly astonished audience. These communities were not in contact, but they had commonality in their respective monastic Protestant cultures. "Both encouraged artistry and spiritual introspection."

The point is "human unity is manifest in a shared hunger for enlightenment."

The capacity crowd in the Chapter Room of the Grand Lodge of New York was evidence of that.



(Actually this photo was shot during the Q&A, by which time dozens of guests had flowed into the hallway to stretch their legs.)